\ ,.^l* 







LIBRARY OF CONGRESS. 

.... Copyright No 
Slielf..A5..'^ 



Chap. 1. Copyright No.. 



UNITED STATES OF AMERICA. 



WARD, LOCK, AND BOWDEN, LIMITED. 

LONDON: WARWICK HOUSE. SALISBURY SQUARE, E. C. 

NEW YORK: EAST 12th STREET. 
MELBOURNE: LITTLE COLLINS STREET. 

All Rights Reserved. 



I E PETIT MAITRE 



OR 



Home Teacher of 
Millinery, 



BY 



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MADAME.MELCHER 

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Published bv 

MADAME MELCHER, 

50 & 32 E.-ist 14th Street, 

NEW YORK. 







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^ Copyrighted i?,q^. 
Al.l Rights Reshrved. 



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5 



PREFACE. 



Millinery is becoming more and more an art, consequently every woman, 
no matter where her home or what her means, must keep abreast with the times, 
or be unpleasantly conspicuous. 

To do this she must improve every opportunity of cultivating her taste, not 
merely to gratify her vanity, but as a duty to herself to enable her to appear at 
her best to those about her. 

Whatever the caprices of tickle Dame Fashion, there are many underlying 
principles which never change, and as no substantial structure can be built with- 
out a good foundation, so no art can be acquired without a thorough knowledge 
of the principles governing it. 

These, in millinery, are the really "fine points," for though one may be 
possessed of sufficient good taste to do work, that at first glance at a distance, 
makes a favorable impression, close inspection is sure to expose faulty work. 
A careful study of the subject, as herein presented, will it is hoped, be of great benefit 
to all students of, and workers in, millinery, as this book is written after years of 
practical experience in teaching French millinery to those who desire the 
knowledge of the art for home use, those preparing to fill positions in great city 
emporiums or in the smaller establishments, and to those intending to teach 
others or conduct a business of their own. It is intended to aid the memory of 
the author's own pupils, who are scattered over both Europe and America, to 
instruct those who may not be able to avail themselves of the advantages offered 
by the best schools of millinery, as a text book for such schools, and as a reference 
book for established milliners. 

Many of the world's workers in other lines feel the necessity of having 
extensive libraries to which they may turn for instruction, and with which to 
refresh their memories in the course of their labors, but as far as the writer 
knows there is not a single volume to give this aid to milliners, the only books 
procurable, previous to this time, being the periodicals that announce the 
changes of fashion. These, of course, are of transient value to the established 
milliner, but useless for after reference or for the instruction of the beginner. 
To supply these needs, the following pages have been carefully prepared. 

At present we have schools in which all kinds of useful knowledge may 
be gained, and text books for the use of pupils and teachers. In these schools 
knowledge may be gained in a few months that would require as many years 
of the old-time apprenticeships to acquire. We live in too rapid an age to feel 
that we can afford to give an unnecessary amount of time to the acquisition of 
useful knowledge, yet it is such an age of competition that in no line of work 
can we afford to do less than our best 



Millinery schools are comparatively new, and at first the instruction was 
all oral, the lessons all object lessons, but now the need of printed instructions 
has become apparent, as without them the teacher's memory must be taxed with 
too many things at once, and some really important things may be entirely 
overlooked. 

The busy milliner, with many orders to fill, cannot spend the time to teach 
all of the principles of her art, and the pupil must be apt who " picks up " enough 
knowledge in one year's work to feel at all repaid for the time she has been 
obliged to spend. She may have done every kind of work in order for tha 
particular year, but some kinds may not have been required during her year of 
apprenticeship, and when fashion's changes revive some particular line which 
has been laid aside for a time, it is found that the whole year of work has left 
much to be learned. For instance, shirred hats may be very popular for a time, 
then may not be worn for some years, after which they are again in as great 
a demand as ever. 

If, in the press of current work, important points like this be entirely for- 
gotten, the detailed descriptions given in this book will enable the milliner to 
resume such forgotten work and again pursue it as deftly as ever, while at the 
same time they will be found so clear as to be readily followed by the beginner. 

To use this as an instruction book, it is best to first look over an article and 
the illustrations, to get an idea of the work, then begin a piece of work with 
directions in sight, as would be done if the work were crocheting or knitting, 
read a little way and do the part of the work there described, then read a little 
farther and continue work, so reading and working, step by step. 

The teacher will find it necessary to adopt some means of making her pupils 
think and the only way she can be sure of this is by asking questions, or after 
instruction has been given and work done, requiring the pupil to close her book 
and tell how she did the work. 

Work may be done with book open until its teachings have been followed 
so many times as to become firmly fixed in the mind. 

The author desires to express her sincere gratitude to Miss Stevens, teacher 
of millinery and dresscutting, for her careful revision and essential assistance 
in arranging the material tor this little work. 

M. MELCHER. 



LE PETIT MAITRE. 



THE head is not only the superior part of the human body in intellect, 
but also in cesthetics, and for that reason it is ot great consequence 
in what way it is clothed. 

'I'he shapes of heads vary greatly — some are long and narrow, and some 
are short and broad. These points must be carefully considered by the milliner, 
as a becoming hat heightens the charm of a pretty face, while an unbecoming 
one has the contrary effect. 

The foundation of the hat is the skeleton or frame, therefore we will begin 
with the making of these. 



Round Hat Frame of Buckram or Stiff Net. 




Cut according to Fig. i. — Brim (A). With a compass then mark crown, cut 
half inch inside of mark, slash this half inch space to stand upright, thus forming 
a hold for the Side-Crowns. Side Crown (B). Top Crown (C). Wire Brim 



(A) on both sides, allowing three inches for over lapping, then wire top of Side- 
Crown (B), sew on Top-Crown (C) to upper part of Side-Crown (B) and sew 
lower part of Side-Crown (B) to upper part of Brim (A). 

If brim is to flare, cut it across and set in a triangular piece. 



BonnetT Frame of Buckram or Stiff Net. 

P"iG 2 




Cut according to Fig. 2. — Side-Crown (B). Top-Crown (C). Revers (A). 
Wire Side Crown (B) on both sides, allowing three inches for overlapping, then 
sew on Top-Crown (C) and lastly wire Revers (A) and sew on according to 
illustration. 



Bonnet Frame of Buckram. 




Cut paper pattern as in Fig. 3, folding on line a-b, and cutting the two 



sides together, so that they will be just alike. The distance from a to b 6 inches, 
from c to d 4| inches, slashing from edge to e, f and g i^ inches. Cut buckram, 
without folding, lap slashed edges and pin them together to bring frame into 
shape, See Fig. 4. Outside of frame should measure about 22 inches around. 
Sew slashed places together with flannel or feather stitch, being careful to have 
stitches well over the cut edges of the buckram, to hold firmly and smoothly. If 
hair is worn high it may be necessary to cut out more at back. Sew flat or 
ribbon wire inside of frame from a to b with flannel stitch. Wire outer edge with 
moderately strong wire, lapping it 3 inches at back of frame, sewing with over 
and over stitch. U revers be desired cut separately, wire on upper edge, and 
sew lower edge to frame. 



Toque Frame of Wire. 



FIGURE 5. 

Take stiff wire and measure around the head allowing 3 inches for over- 
lapping, bind at back with veiy fine wire, then arrange the cross wires. Cut 
three wires of medium thickness, about 10 inches long, bind them in the centre 
cross-wise with a fine wire, then fasten to the outside wire by bending the ends 
over the outside wire, pressing tightly with flat pliers. (Wire is cut with cutting 
pliers.) 

Finish frame by putting two or three medium sized wires around the 
crown in circular order. 

If rez'ers be desired the cross- wires may be left about 2 inches longer, bent 
upward, pressed tightly to outside wire and finished with a strong edge-wire. 



Wire Frame on 5haper. 

Whal manufacturers call a shaper is essentially a strong buckram frame of 
the shape to be made in wire, with lines marked on it showing where wires are 
to be placed. 

The outer or edge-wire is first fastened to edge of shaper with small brass 
clamps, made for the purpose, allowing enough wire to make it double between 
centre back and first mark for cross-wire at right, leaving ends \ inch longer to 



turn back. Fasten one end of the piece of lighter wire, (some times called brace- 
wire), to edge- wire at centre back, by slipping it under the double wire at point 
marked, bending it up over the two wires and pinching tightly with the pliers, 
l)eing careful not to cut wire or covering. Carry brace-wire to front of hat, 
following line and bending for brim if there is one, cutting long enough to slip 
under edge-wire and fasten as at back. Place the other cross-wires in a similar 
manner, fastening the one at right of back over the double edge-wire, as at centre- 
back. Put wires around and fasten cross-wires at centre of crown as in free-hand 
frame, by winding with the spool-wire; following lines on shaper, so that if any 
number of frames, are made, all will be alike. When all places where wires 
cross are properly fastened, remove frame from shaper by slipping edge-wire 
out of the clamps, and turn back ends of edge-wire, pinchmg tightly and neatly 
under cross-wires, to give a firm, neat edge to frame. The special advantages 
of the use of shaper are, uniformity in any number of frames, and the saving of 
time of measuring. Clamps should be between places for fastening cross-wires, 
so as not to be in the way of the work. About i dozen clamps will be needed 
tor large frames, less for smaller ones, if clamps are not at hand, edge-wire 
may V)e fastened to shaper by long stitches with strong thread. 



To Cover Round Hat. 




FIGURE 6. 

Cover frame with some thin material, as cheese-cloth or tissue paper to give 
goods a richer appearance and prevent stitches from showing, unless hat is to be 
covered with crepe, then lining must be thin silk or nun's veiling. Cut paper 
pattern of under side of brim, mark centre front with a notch, under side with 
pencil, mark centre front of frame with a thread. In covering, observe the 
following order : 

Top of crown, \ 

Upper side of brim, >- Cover. 

Under side of brim. ) 

Line side crown. 

Cover side crown, 

10 



Lay centre front of pattern across a corner of goods, to give true bias from 
front to baciv; and, in case of velvet, against the grain from front to back. In 
crepe the ridges should be straight from front to back. Cut two pieces of goods 
h inch larger than the pattern, one for upper, one for under side of brim, marking 
from pattern for head line. Cut the piece for under side of brim 3^ inch inside of 
head line. Piece for upper side may be used to cover top of crown as well, 
if crown is smaller at top than at bottom, by using the part inside of head line. 
Sevi' just below edge of crown (inside of mark of the head-line) with a firm back- 
stitch, cut close to these stitches, then slip material down on the brim, where it 
will fit perfectly. If top of crown is as large or larger than bottom, a separate 
l^iece will be needed, and the piece for brim must be slashed inside of head line 
to fit around crown In fitting cover of brim draw goods on the straight, never 
bias, and pin to edge of frame before sewing. 

Edge of piece covering upper side of brim must be drawn down over edge 
of hat and secured to frame by a large flannel stitch, edge of under side turned in 
neatly and slip-stitched to upper. First cover of frame and final one should be 
put on in same manner except that first may be sewed through-and-through or 
in-and-out, while in the final one no stitches must be in sight, and the lining is 
not put in side-crown until under side of brim is finished. Turn lining down so 
no stitches will be taken through it in covering side-crown and trimming. If 
top of crown is same size as bottom, side crown may be covered with a bias 
piece, but if not a pattern must be fitted. . Join outside or final cover of side 
crown where trimming will cover. Never lap material, but turn edges under 
and slip-stitch together. 

In sewing velvet hold edge with a piece of same, (wrong side out), to avoid 
leaving finger-marks. If a separate piece is required for top of crown, a square 
piece is preferable (corners front and back), as corners can be pulled to fit 
smoothly. Cut closely after sewing. There must be no fullness between corners. 
Ribbon in hem of lining should not be drawn until hat is finished, then draw and 
tie neatly. 

Crown-lining should be cut length-wise of the goods, never across or bias. 
Use marceline, which comes in black and white, to line all, except lace or 
other very thin hats. For these use net or same material as outside of hat. 

A round hat in recent favor had upper and under side of velvet brim 
stitched together on a sewing machine in circles about one inch apart, with 
wires slipped in between the two thicknesses of velvet, instead of making frame 
first. Edge wire is added after others are all placed, cross wires are fastened 
to edge wire, then edges of the velvet are turned in and slip-stitched together 
over this out-side wire, to neatly finish edge of brim. Crown for this hat may 
be of any material preferred. 

If round hat of velvet is to have insertion set in the brim, the velvet must be 
cut out between wires, allowing just enough extra width to turn in and slip- 
stitch together as directed for edge. 

If frame be of buckram it must be cut out where insertion is to be, wire 
sewed to these newly cut edges, and these two wires connected by cross-wires, 
to keep frame in shape and make it firm. Then cover as directed in case of wire 
frame. 

11 



To Cover Bonnet Frame. 

SEE FIGURE 6. 

Cover in same manner as directed for round hat, cheese cloth or tissue paper 
first, top of crown, revers, side-crown. Top of crown may be lined before covering 
or lining may be slip stitched in after, sewed as directed in article on crown lining. 
If desired the out-side of crown may be given a crushed appearance, instead 
of being covered plain. 

Cover o{ revers may be shirred on, if desired. 

The hats to be made on buckram frames are velvet, mourning — silk, crepe, 
cloth and plush. On wire frames are placed soft straw or other braids, lace, jet 
and chiffon. 



To Make Bonnet. 




KIGUKE r. 



Cover frame with some thin material, as cheese cloth or tissue paper, as 
suggested before for buckram frame, placing it smoothly over entire shape, 
turning over wired edge and sewing neatly. Final cover of crown may be plain 
with folds around sides and front, or entire bonnet may be made of bias folds, 
cut 1 1 inches wide and sewed on double, beginning at outer edge of bonnet, and 
placing one fold inside another, finishing at centre where trimming will cover, 
See fig. 7. These folds must be stretched enough to make them fit smoothly 
over shape, folding where necessary, as shown in the illustration. This shape 
may also be covered in irregular puffs, or regular puffs, following shape of front 
of bonnet. See figure 7A. 

A pretty finish for front of bonnet that has a plain or fancy crown may be 
made in the following manner. Cut one and one-half strips of velvet on the bias, 
4 or 5 inches wide, sew these two pieces together, and mark centre of entire 
length with a notch. In putting velvet on the bonnet see that this notch is at 
centre front Hem twelve or thirteen inches from each end, on the same edge 

13 




FIGURE 7A 

for the right side of bonnet, gather between the hemmed parts or plait as in fio-. 7B; 
being careful to have the joining well hidden in the fullness. Leave a little of 
end of strip for a finish at centre back of bonnet, lay velvet in lengthwise folds 
around edge of bonnet, arrange fullness to reach a point exactly the same 
distance from centre front each way, then lay lengthwise folds around rest of 
bonnet, and finish at back with a knot made of the ends of the velvet, or cross 
the ends to stand as tiny rabbit ears. 



Toques and Turbans. 

Toques are small brimless hats, usually made of jet, straw or other braids, 
lace, silk, cloth or velvet. 



Jet Toque. 



To make a jet toque, first cover a wire frame with black net, either plain 
or puffed, then sew on a jet crown and any jets around it that fancy may dictate. 
Line with net and do not trim too heavily. 



Straw or Other Braid Toques. 

A straw or other braid toque is made by sewing braid from centre outward, 
round and round, from right to left. If braid is too soft to keep in shape well, it 
may be necessary to brace with wires, or put on a wire frame, but if firm, an 
edge-wire only may be needed. Edge-wire may be covered by a fold and an 
inch wide facmg slip-stitched inside of it. Lining of marceline is sewed to inner 
edge of this facing to give a neat finish. Hem lining, draw ribbon in hem, and 
line top with an extra piece, as directed in article on crown lining. 

13 



Lace Toque. 

Lace may be shirred or puffed on a wire frame, and must be lined with net. 
This hat should not be too heavily trimmed, but have a light, airy appearance. 



Silk, Cloth and Velvet Toques. 




FIGURE 8. 

Silk, cloth or velvet may be so placed on a toque frame that very little other 
trimming will be required. Corners of the material, turned as in rabbits' ears, 
may be so twisted in with the puffs as to be very effective for the heavier part of 
the trimming. Material should be carried over edge of frame and facing slip- 
stitched to it. Line same as straw or other braid. All buckram frames should 
be first covered with some thin material, as cheese-cloth or tissue paper, or at 
least, have the edge bound with a bias strip stretched on smoothly. A turban 
is similar to a toque, but has a brim that stands or rolls close to the crown. A 
soft crowned toque may be made with no other frame than a band i to i| inches 
wide, to tit around the head. A square, half-square, or irregular piece of goods 
may be twisted and puffed into a crown as fancy dictates, sewed to band so as 
to serve as facing and lined as above, ribbon in hem of lining drawn sufficiently to 
give a hold on the head, (See figure 9.) 




FIGURE 9. 
14 



Wheeling and Outing Hats. 






FIGURES 10, 11 and 12.. 

Circular piece of material of the wheeling or outing suit may be gathered or 
plaited into a band of the same to fit the head. Join this band at the side, line 
crown with circular piece of silk and band with strip of silk or ribbon, which 
may easily be replaced when soiled. Outside and lining of crown should be 
basted together before gathering or plaiting. 

Trim simply, as with a rosette of the goods or ribbon and two or three quills 
catching up the soft crown to give it a jaunty appearance and covering joining 
of band. 

Crown may be made of two circular pieces, lower one cut out at head-line 
to avoid fullness where it is put in the band. ^ If cut in this manner the two 
circular pieces are cut smaller than in the first style, and must be joined in a 
seam around outer edge. Outside and lining are put together after this seam 
is sewed, wrong sides gether, then sewed to outside of band, after which band 
is lined. Outer edge of crown may be a plain circle or cut in from four to eight 
scollops. 

Crown may be made of six or eight pieces, the neatly stitched seams meeting 
in the centre under a button covered with the same material, lining in a single 
piece, as in the first. These pieces may be so cut as to form a flat, circular croMm 
to gather or plait into band, or outer part of each piece may be cut away on each 
side, giving it the shape of a diamond with lower point cut away so that when 
the seams are sewed it will have the form of the two circles before mentioned, 
and can be sewed into band without fullness. These diamonds may be wide 
enough in broadest part to lie flat after being sewed, or wider so as to have a 
full appearance. 

If brim be desired, cut two circular pieces of the goods large enough to allow 
for seam around the edge, and one piece ot tailor's canvas to go between the two, 
but not large enough to sew into this outside seam. Mark for head line and cut 
goods and this interlining J^ inch inside of line, slashing through this extra 
material to line. Lay right sides of goods together and stitch around outer edge, 
baste interlining to one of these outer pieces, turn right side out and stitch in 
circles about \ inch apart. 

If brim is to roll slightly, mark headline small, have tension rather tight for 
outer row or two of stitching, looser for the inner rows, wet brim and press into 
shape before sewing into band, stretching at headline so brim will turn up 
slightly, all the way around. Sew to lower side of band, line band, and trim 
simply. 

16 



Shirred Bonnet. 




FIGURE 13. 

Shirr velvet or silk lengthMrise or bias, but crepe lisse, chiffon, Brussels net. 
dotted net and fancy crepes should be shirred lengthw^ise. 

Of material as thin as the last named it may be necessary to take as much in 
length as would be required to go three times around a bonnet of the desired size 
unless it is to be trimmed with a quantity of lace or flowers, in which case 
shirring will not need to be so full. Silk will require twice the length, but velvet 
needs less. 

Light weight velvet shirrs better than heavy, and for flat shirrs for small 
bonnet, instead of using velvet double, the under side may be crinoline, cutaway 
between shirrs, or thin narrow ribbon may be used fur under side of shirrs. For 
flat shirrs in thinner goods, take a strip twice as wide as bonnet measures from 
centre front to centre back, and if a frill is desired at edge of bonnet, allow twice 
the width it is to be. Length of material according to thickness, as above. 
Double lengthwise, mark centre of this lengthwise fold with a stitch, then with 
strong sewing silk two inches longer than goods, run through the two thicknesses 
far enough from fold for a wire in the shirr thus made, unless edge is to be 
finished with a frill. If so, two threads must be used, one far enoueh back from 
fold to allow for frill, and the second back of the first for wire. Make as many 
shirrs as fancy or size of bonnet requires, leaving at least one inch of material 
to finish at crown. Slip wires in the shirrs, outside one long enough to reach 
all around bonnet, allowing at least three inches for joining, as in wire frame. 
Divide fullness evenly. 

Slip in five cross wires (one in centre, two on each side) between the two thick- 
nesses of goods, fastening front and back to outside wire. Shape over pattern 
frame or free hand ( i. e. without a pattern), fasten all other wires to outside wire 
at the sides, then, with threads drawn out to open shirrs at the ends ^ inch, 
turn edges in and slipstitch material together at back of bonnet. Draw threads 
from centre each way, few stitches at a time, to avoid breaking threads, and 
fasten them securely. Draw down centre crown and finish last. 

To slip wire in a shirr, bend back a little of end, and it will slip readily. 

For raised shirrs, take the material single, allowing for shirrs and frill. The 
raised shirr is simply a littte tuck with wire slipped nito it. After all the tucks 
desired have been made, slip in the wires and shape as though shirrs were flat, 
except that cross wires are put in after other wires are fastened. 

A very effective way of making a shirred bonnet is to shirr in clusters of three 
with a frill in space between. Shirrs may be flat or raised, but these frills arc 

16 



only on outer side of bonnet; so, in measuring width of material, allowance must 
be made for as many frills as desired. 

To make shirred bonnet will require, of velvet K to M' yard ; of thinner 
material ^ to i yard. 



Cross Shirred Bonnet. 

Shirrs may cross bonnet from front to back instead of from side to side, in 
which case the wires in shirrs must all be firmly fastened to an edge wire. Make 
centre shirr first, puffs between shirrs narrower at back than front to shape the 
bonnet. 



Shirred Hats. 




FIGURE 14. 



FIGURE 15. 



Shirr velvet and silk leng-thwise or bias, but crepe lisse, chiffon, Brussels net, 
dotted net, fancy crepes, mull, swiss, lawn and all wash goods should be shirred 
lengthwise. 

Of material as thin as crepe lis'ie or chiffon, it will be necessary to take as 
much in length as would be required to go three times around a hat of the desired 
size. Silk, lawn and goods of like thickness will require twice the length, but 
velvet needs less. To make flat shirrs take twice the width to be shirred, 
allowing for frill, at edge of brim, which is also double, mark centre of length- 
wise fold with a stitch. In thin goods the entire hat may be shirred in one piece, 
top of crown may be of a separate piece, or entire crown may be made separate, 
and sewed in after brim is finished. In thicker goods it is best to make crown 
separate, allowing % less for fullness, or, at least, top of crown should be 
separate. 

17 



If frill at edge of brim is to be of lace or embroidery, take strong thread or 
silk two inches longer than goods, and run through the two thicknesses far enough 
from fold for a wire in the shirr thus made. If a frill of the material is required, 
either with or without lace on the edge of it, two threads must be used, one far 
enough back from fold to allow for frill, and the second back of the iirst for wire. 

If brim is to be same width all around, let shirrs be same distance apart all 
the way, if back and sides of brim are to be narrower than front, let all but out- 
side shirr be closer together from a point half way between centre front and side 
of brim to ends of goods to be joined at centre back. 

Slip in wires, being very careful not to cut them too short, determining lengths 
according to pattern hat, or to give desired size if to be made free-hand. 

Outside wire should be long enough to go around hat, and from centre back 
across hat to centre front, where end is fastened to outside wire. 

Before fastening this cross wire in front, fullness must be evenly divided, and 
the wire slipped between the two thicknesses of goods, then fastened securely to 
outside wire exactly in centre front of hat. If the wires around brim are drawn 
so as to make a slightly flaring brim, this one cross wire is sufficient, but if the 
inner wires are not tightly drawn, six or eight cross wires may be needed, slipped 
between the two thicknesses of goods, and fastened to the outside wire. Shape 
brim free hand or over a piece of strong box board which has been cut size and 
shape required, joining wires at back, if back and sides have shirrs closer together 
than front. If brim is same width all around, this joining may be at the side if 
trimming will cover it. 

Slipstitch ends of goods together neatly, draw threads from centre front each 
way, few stitches at a time, to avoid breaking threads, and fasten them securely 
after removing shirring from the box board. If side crown is to be of same piece, 
shape remaining shirrs over pattern frame or free hand, and join wnres, goods 
and shirr strings as in brim. Upper edge of side crown may be left to finish in 
a shirr when top of crown is put on, or edge may be turned down to form a puff 
or a full ruche around top of side crown. If entire hat is to be of one piece, shape 
in like manner to the last shirr and draw goods tight at centre of crown. It is 
easier to make at least top of crown of a separate piece, and entire crown may 
be separate if desired, either shirred or puffed. If several shirrs are close together 
slip in all the wires of the group at once. 

For raised shirrs, take material single, allowing for shirrs and frill. Put cross 
wires in after fastening the other wires. Under side of brim may be faced after 
shirrs are finished, with material allowed when shirrs were planned, or with a 
separate piece, as velvet under-faced with silk. 

To make flat shirrs in a single thickness, use narrow, thin ribbon for under 
sides of shirrs, or shirr on crinoline and cut away between shirrs. 

Velvet hat would be lighter if shirred single with briir. underfaced with silk, 
and crown must not have two thicknesses of velvet, if brim does. 

To make shirred hat of medium size will require of velvet \]4 io lYz yards : of 
mull, chiffon or Brussels net 2 to 2^ yards. 

18 



Cross Shirred Hat. 




FIGURE 16 

This hat is pretty when made of shirrs in clusters of three, with puffs 
between. 

For medium sized round hat take two widths of chiffon forty-eio-ht inches 
wide and one yard long. Shirrs should be K inch apart, lengthwise of the 
chiffon. Make first cluster of shirrs in centre of one breadth, then divide this 
yard of chiffon in four parts length wise and mark each division with a white 
stitch. These parts are, seven inches each for under and upper side of brim, six- 
teen inches for edge of brim and six inches for side of crown. 

In marking for next cluster of shirrs on either side of the first, allow for puff 
3>4 inches wide at point marked for edge of brim, sloping gradually to two 
inches at ends of goods. The part forming side of crown must have smaller 
puffs than edge of brim to be in good taste. 

After shirring the one width in this manner, cut off the material left at the 
corners by the sloping process, cut same amount from corners of the second 
width, using a piece cut from the first for a pattern, then sew the two widths 
together, taking care to have the joining in a shirr, then, working from this shirr 
or seam, shirr the second width like the first, joining to opposite side of first in 
a shirr. Slip fine silk wire, color of goods, into the shirrs, cutting each wire to 
measure ^ inch more than height of crown and twice the width of brim. 
Draw threads and fasten the part of shirring marked for under side of brim by 
turning wires in shirring over wire at head line of frame to give a firm hold and 
neat finish. Bend wires of shirring over edge wire of frame, securing each one to 
edge wire firmly, neatly and at equal distances, (so puffs will be even), also 
bend to form side crown, and sew neatly around head line. If desired, the wires 
of the shirrs may all be fastened to the crown, without the aid of a wire brim, 
but this is less durable. 

If crown is too small to carry all wires to the top, only centre one of each 
group of three need be put in side crown, the others being cut off at head line. In 
this case only centre shirr is run to the top, the rest of the material going into 
puffs between the shirrs. Top of crown may be jet, fancy straw, flowers, or, 
in fact, any material desired. 

A dainty hat may be made of ribbon for the cross shirrs with net or lace puffs 



19 



between. 0( poi'n^ d' espn'/ or any \?ice as thin, allow six inches more in length 
of each piece to be shirred than of chiffon, — two inches more for side crown, two 
inches more for upper and two niches more for under side of brim. Gather the 
lace to correspond to the cross wires of frame,and sew these gatherings to the cross 
wires. Run three raised shirrs in ribbon, allowing I inch on each side for frill. 
Slip wires in the shirrs, draw shirr strings and divide fullness, then sew these 
shirrings over wires of hat, covering the shirr strings of the lace. Jet bands 
or fancy braid may be used in place of shirred ribbon if desired, or centre cut out, 
leaving brim for Tam O'Shanter or crushed crown of velvet or other material. 



Plateau. 




FIGURE 1? 



Plateaux or plaques have been in great favor for the last four years, and are 
worn yet, though in the ordinary size not as much for adults as for children. 
For ladies' they are smaller and shaped into bonnets, toques and Tam O'Shanter 
crowns. (See figure 17). A plateau, as the name signifies, is perfectly flat, 
like the top of a circular box cover, and is bent and folded in various shapes, 
being modeled by the milliner's taste, without any particular pattern. 

Plateaux are made of almost any material, as felt, fancy straw, jets made 
over wire, plaited chiffon or lace, made in a similar manner or with the wire 
first covered wilh tricotine (a thin gold woven stuff) or almost any light or heavy 
fabric shirred. For shirred plateau take a strip of the material twice the length 
of outside wire, and allow sufficient width for shirrs. If shirrs are to be flat, this 
strip must be as wide as the plateau, and allowance must be made for frill at edge 
and finish at centre. 

Double material lengthwise and shirr from this lengthwise fold as for brim 
for shirred hat figure 14. Make as many shirrs as desired, draw in neatly at 
the centre and finish, either on the mside, or with a fancy button, rosette or bow 
on the outside. For more minute directions for shirring hats, see page 17. 



To shape plateau into a bonnet, toque or hat, arrange on a band that fits 
around the head. This takes the place o*" side crown. Toque made of plateau may 
have this side crown entirely covered with a twist or other arrangement of some 
trimming- that will fill in odd spaces where plateau is caught up in fanciful shapes. 

Plateaux may also be made of plain velvet with a layer of buckram between 
the two circles and after having wired and slipstitched the edges, stitched on a 
sewing machine in circles of about one inch apart. 



Sewing Straw and Other Braids. 




FIGURE 13. 

To make entire hat of straw or other braid, the usual way is to begin at 
centre of crown by turning end of braid under neatly and sewing in a button- 
like circle or in oblong if preferred, then continuing round and round from right 
to left, laying inner edge of braid under the last round sewed, as in figure i8. 

Shape free-hand or over a pattern. Another way is to use braids just long 
enough to reach from front to back, sew outer edges of two braids together to 
form a ridge in centre from front to back, then overlap and sew to the sides, cut 
braids to shape and put one braid around outer edge. This can be done in 
making some small hats, bonnets and toques, also crown of large hat may be 
made in this manner, with brim sewed round-and-round. No positive rule can 
be given for the sewing of fancy shapes, but a careful study of the shape to be 
made will have to be the guide for the cutting and fitting in of small pieces. 

31 



When sewing- braid to put on a point or any irregular part of frame, shape by a 
paper pattern. A good general rule in sewing braid is, do not cut the braid 
unnecessarily. A careful worker will study her material and design, and choose 
the neatest, lightest way of doing her work. Wide, soft fancy braids, Neapolitan, 
etc., may be gathered on the inner edge to make them curve smoothly. If these 
fancy straw hats are too soft to keep in shape, they may be braced with wires or 
put over a wire frame. Sew fancy braid with slanting stitches, hiding them as 
well as possible. Sew plain braid with stitches put straight through, showing as 
little as they will on right side, longer on wrong, though short enough to be neat 
and firm. Plain straw may be woven together as rope is spliced, or the end 
may be turned under, the fold following the weave. Sew Neapolitan dry or just 
moist, not wet. If crushed so it must be wet, pull in shape and let dry or nearly 
dry before sewing. 

If a Leghorn hat is too large, or if the edge is broken, the hat can be made 
smaller by cutting from the edge to nearly the required size, being careful to cut 
all the way around through the same braid, leaving a raw edge, from which 
straws can be picked one by one, leaving a properly tinished edge. See figure i8A. 

Straw or other braid hat or bonnet should have wire sewed near the edge 
with slanting stitches through cover of wire and through the hat ; then put needle, 
slanting in opposite direction through hat and cover of wire, taking short stitches 
on boih sides. If under stitches are on inner side of wire, they will not show at 
all. 

A Leghorn hat is not wired unless it is to be faced. If it is to be wired take 
stitches part way through, from the under side. 



Felt Hats and Bonnets. 




Felt is as useful in milhnery as any material made, being always in order in 
fall, winter and spring, for general wear or mourning, also for mountain wear in 
midsummer. It is worn by ladies' of all ages and by children, the shape, color 
and trimmings marking the hat as childish, youthful or matronly. 

Of late years nearly as many felt hats have been made by the milliner as by 
the hatter. These are made in hats, toques and bonnets, specially designed to 
suit the wearer, thus allowing the milliner free scope for her talents, and often 
enabling her to produce more charming effects than would be possible were she 
confined to the use of the unyielding shapes made in the great factories by the 
thousand. 

A hat that has been in favor of late, has a Tarn O'Shanter crown of soft felt, 
with brim of velvet, shirred in its entire width, or just at the edge. Tam 
O'Shanter crown is a circular piece of goods, gathered or plaited at the edge to 
bring it into shape for a soft crown. Piece for medium sized crown may be 
about loX inches across. Bands of hatter's felt may be used for trimming, felt 

25 



may be used also for part or all of crown, or entire buckram frame may be 
covered with a lig'ht, pliable quality of felt. 



Tarn O'Shanter Crowns with Shirred'Brim. 




FIGURE I8B. 

If hat to match a suit is desired, color can sometimes be matched in felt, if 
not, material of suit may be used in a similar manner. 

A very pretty small hat has a steep crown of chenille woven into the frame, 
as in figure 29, with a double box plaited ruche of felt for the brim. 

Fancy braids of felt may be used for trimming:, ^^r edges of hats or bonnets, 
to make entire hats or bonnets, or may be combined with chenille, jet, velvet, 
satin, etc. Sew these braids with slanting stitches, hiding them under strands of 
the braid on right side and wrong. 

Sew felt with slanting stitches taken part way through, or if too thin, put nee- 
dle through from wrong side to right, then put needle in same place and slant in 
opposite direction from right side to wrong, as in figure 18 C. Sew in this 
manner when wiring edge or putting on folds, or wherever it is necessary to hide 
stitches. 

Silk is better than thread to sew felt with. 




FIGURE 18C. 



Facing. 

A cross shirred hat requires no facing, neither does a flat shirred hat unless 
it is velvet, in which case it may be made to have a lighter appearance if faced 
with silk. Raised shirred hat may be faced with material allowed when shirrs 
were planned, or another shirring of a contrasting color. 

Plain facing for round hat has been described in directions for covering 
"Round Hat," figure 6. Facing may also be shirred or puffed, with a plain or 
scolloped frill at edge. This scolloped edge is made by running two or more 
outer shirrs close together in saw tooth or scolloped design, as for "Shell Edge,'' 
as described later on. 

Straw or other braid may be double so upper and under sides of brim will 
look alike, edge being wired between upper and under braids, or if facing of silk, 
velvet or other material be desired, it may be slipstitched to brim, either outside 
or inside of wire, and sewed neatly to inside of crown just above head-line, before 
side-crown is lined. 



23 



If facing is to be plain, it must be cut shape of brim, as directed in the article 
on covering- " Round Hat," figure 6. 

If brim is very rough, as wire brim or some coarse straws, a thin layer split 
off from cotton wadding, cut to fit under side of brim, will make it possible to 
face smoothly. 

Facing may be put on entire under side of brim or part of it. A partial facing 
may be an inch wide bias band at outer edge, at inner edge, or part way between. 
If a wider band be used it must be cut shape of the part of brim it is to be used upon. 

Facing in bonnet must come to the edge, and may be plain, shirred or 
finished wiih shell edg^e. 



Crown Lining. 

Crown lining is in two pieces, a lengthwise strip inside of side crown, and a 
small piece, called a tip, lining top of crown. A thin silk, called marceline, comes 
in black and white for lining, and is generally used unless a particularly light, 
transparent effect be desired, then net is better, or material of hat if it be light 
colored chiffon, or any thing on that order. 

Tip may be size of top of crown, sewed in with a few stitches, through and 
through, short on right side, long on wrong, or use a little mucilage. Lining 
should be somewhat wider than side crown when finished, so in measuring width 
allowance must be made for this, for z^ inch hem and ^4 inch for sewing 
in. Length may be quickly ascertained by measuring at headline, taking 
twice the length and once the width of crown. Run hem in one side of lining, 
slip into hem a narrow ribbon, sew the other side in hat just above headline, with 
a long over-andover stitch, and run ends together at back of hat. Leave lining 
turned down, and do not draw ribbon in hem until hat is trimmed, then draw 
ribbon and tie in a firm double bow knot. 

If a hat is thin, as Neapolitan, it may be well to shape the lining to fit over 
outside of crown, sew tip and side- crown together, neatly, in a seam, then put 
lining in crown and sh'p-stitch around edge. 

Lining is put in a bonnet in the same manner, except that at sides it may be 
cut a little narrower and at back considerably narrower, ends being joined and 
ribbon drawn and tied as in hat. Some fancy shaped bonnets are lined with a 
single piece of net, silk or crepe shape of bonnet, edges turned in and slip- 
stitched to edge of bonnet. 



Bands. 




FIGURE 19. FIGURE 20. FIGURE 21. 

The making of bands may be considered a very trifling part of the work of 

24 



making hats and bonnets, but for some styles they are almost indispensible. To 
shape to the head a plateau, or a hat with a very low crown, a band will be 
needed, especially when the h;iir is worn high, also for very flaring shapes which 
are to be caught up in a fanciful manner. Some hats require a band all the way 
around, while others only have it part of the way, depending on the style of hat 
and manner of dressing the hair. See figures 19, 20 and 21. 

Bands may l)e made of buckram or cape-net edged with wire, and are cut 
either slightly curved, a little pointed towards the ends, or one part may be 
straight and the other part curved, or entire piece used for baid may be straight. 

A new and effective way of making band for a trimmed sailor hat which is 
to be trimmed at back below the brim, is shown in figure 21. 

The narrow part of the band in centre is not to be in sight when in hat, only 
the two sides, which may be trimmed with flovvers. rosettes or bows, according to 
taste. A bias piece of velvet or silk may be used to cover a straight band, but for 
others cut two pieces, shape of band, large enough to turn in at edges for sewing. 
First cover one side smoothly, drawing material over both edges and sewing 
it firmly to foundation, taking care not to put the stitches through the upper 
material, then sew on the other piece, slip-stitching it neatly on both edges. A 
straight band is more easily made. Take a bias strip of material, sew tightly 
near edge of band, pull over to the other side and slip-stitch neatly at edge to the 
other side of the strip. 



Bridal Veils. 




FIGURE 22. 

The wearing of a bridal veil is a matter so much withm the province of the 



25 



bride herself to decide upon, that only a few g-eneral rules can be given for the 
guidance of the milliner in arranging it. Various materials may be chosen, from 
rare and costly point lace to simple illusion. 

The former is often an heir-loom, which has been kept by the family for 
generations as a precious treasure, and increases in value as it yellows with age. 
Of course, in the nature of things, very few families possess such heir-looms, and 
the diaphanous illusion is the material most frequently used. The selection of the 
bridal veil is a matter controlled more by the taste and wealth of the family than 
by the laws of fashion, equally in order being the priceless old point lace, secured 
b)^ pearls or a diamond crescent, star or sunburst, and the voluminous cloud of 
illusion caught in plaits under a cluster of white ostrich tips and an aigrette, or 
natural flowers 

Even artificial flowers are sometimes used, but are not in as good taste as the 
natural ones. 

These seem the most suitable for the young bride, and this is the one occasion 
in a woman's life when she may wear orange blossoms. Lilies-of-the-valley, or 
other small, fragrant, white flowers may also be used. For ages, in some parts 
of Europe, the myrtle has been used for this purpose, suggested as an emblem of 
purity, as Venus arose from the sea veiled in myrtle. 

Some have a superstition that the tiny, white flowers bring misfortune to the 
wearer, so these are very cleverly imitated in wax or pearls. The pretty 
European favorite has been adopted by some Americans. 



Draping Bridal Veils. 

The draping of a bridal veil must be governed somewhat by the arrangement 
of the hair, height and carriacj;e as well as by the personal taste of the wearer. 

Hair should be dressed high so veil can be pinned to it. 

If one end of veil is to hang straight over the face, this must be short enough 
to enable the bride to walk without fear of stepping on it. To drape in this way 
take veiling two yards wide, first determine the lengths, then plait or gather so 
veil will hang gracefully, one end falling straight over the face, and down to the 
waist-line or below, to the feet if desired, the other end falling over the back, en- 
tire length of train or a little less if preferred, though length of back may not vary 
so much as length of front. 

The part on the head is to be so plaited or gathered as to form a pretty puff, 
the decoration giving the desired finish where fullness is secured. After the 
ceremony, the bridesmaid may raise front part of veil, and turn it straight back 
over the head, giving the bride the bouquet which she has held during the 
ceremony. 

The plaiting or gathering may be in centre of veil, or puff in centre with 
plaits or gathers at each side, allowing veil to fall in equal lengths at sides of 

26 



head, meeting at the back. If desired over the face during ceremony, it may be 
taken up from one side and thrown over the face in such a way as not to im- 
prison the hands, disarrange the hair or interfere with walking. After the cere- 
mony the bridesmaid should raise this part of the veil carefully and lay it back to 
correspond with the other side. 

Another way is to take veiling four yards vi^ide, slope at the top, arrange 
plaits or gathers and puff at one end to fasten to the hair, and let it fall back 
length of train. One side of this may be thrown over face if desired, as in the 
last instance. 

Sometimes a separate veil covers the face until after the ceremony, and is 
then removed by a bridesmaid. Veil may be hemmed or not. 



Floral Hats. 




FIGURE 23. 

Hats made entirely or principally of flowers have always been in great favor 
for full dress occasions, as for opera, receptions, etc. 

They are usually formed in small bonnets or simple bands. If flower stems 
are sufficiently long to form the foundation, no other wires will be needed, other- 
wise a frame or band must be made color of stems, or wire slipped into rubber 
stems may be used for frame. The flowers are arranged according to the prevail- 
ing mode, either massed in front and graduated at the sides, ending in narrow 
sprays, or formed in rosettes at each side with graceful foliage or buds to droop 
on the hair. Some hats have crowns made of flowers, with brim of chiffon or jet, 
others have branches entwined to form a crown, trimmed with tufts of flowers. 

A pretty hat has for foundation two bands meeting in points at either side of 
the knot of hair, and separated in front to fit the head. The bands are neatly 
wound with ribbon which harmonizes with the flowers to be used. 

If crown is to be made of branches, a light, wire frame, of a brownish shade 
to harmonize with the branches may be made, and on this the branches may be 
fastened with fine silk wire same color. Flower crowns are made in a similar 



manner. 



Flower bands are either made of clusters of three or more flowers, or if flowers 
are larg-er, one in a place may be sufficient. 

In arranging- the flowers it is best, if they are to be massed in front, to begin 
at the centre, fastening the flowers with flower wire to front wire of frame, 
graduating at the sides. 

All kinds of flowers are used, both large and small, for floral hats, special 
favorites being polyantha roses, monthly roses, tea roses, for-get-me-nots, lilies- 
of-the-valley, lilacs, pansies, violets, orchids, carnations, hibiscus, hyacinths, 
clover, corn flowers, cowslips, poppies, daffodils, marigolds, tulips, immortelles 
and, in fact, any flowers that will best harmonize or contrast with the costume to 
be worn. A pretty round hat may be made of wires slipped into rubber stems, 
and bent in fanciful shapes, as scollops or points. 



Lace Bonnets and Hats. 




FIGURES 24 and l.i. 

These may be shirred, as already suggested, or made on a frame. For the 
latter take a wire same color bonnet or hat is to be. cover smoothly and neatly 
with lace or net same color. (A. thin fish-net veil will serve this purpose admirably). 

Cover with lace edging, plaited or gathered, or with Brussels net, dotted net 
or any similarly woven lace, puffed or shirred. Sewing must be very carefully 
done, as hat should have a neat, light, airy appearance, and all trimming should 
be sewed to wires of frame for greater firmness. 

It is better to sew trimming where wires cross, then there can be no question 
as to firmness. Gather edge of lace with an over and over stitch. 



Crepe liats and Bonnets. 




FIGURE 25. 

To decide which is the right side of crepe, hold selvedge towards you ; the 

28 



ridges should go from you from left to rig-ht. In cutting crepe on the bias, cut 
across the ridges, or so the ridges will be perfectly straight across the bias band. 

In covering a hat or bonnet, whether plain or puffed, the ridges sliould run 
straight from front to back. 

For a plain covering several thicknesses are required — for very deep mourn- 
ing as many as four, unless the crepe be very heavy The first thickness may 
be of silk or thin black wool goods, drawn as tight as possible, true bias from 
centre front to centre back. The sides being almost straight, cannot be drawn as 
much. The crepe covering should be drawn lightly, mainly from front to back, 
as drawing from side to side smooths the ridges, spoiling the beauty of the crepe. 

For more minute directions for making these hats and bonnets, see article 
"To Cover Round Hat,'' Page lo or " To Cover Bonnet Frame," Page 12. 

If brim is broad, cut cover to shape, but if narrow, a bias piece may be 
fitted neatly over avoiding seam on edge. 

A pretty design for making a crown for crepe hats or bonnets is by making a 
heavy round roll or fold and arranging it in a spiral form on the crown, beginning 
in the centre of it, turning the end under to get a neat finish and finishing off in the 
same manner at the bottom of the crown. 



Puffed Crepe Bonnet and Toque. 




FIGURE 2r,. 

Let ridges run straight from front to back, as in plain bonnet. Lay folds 
following shape of front, reversing them at sides or the puffs may be irregular, as 
desired. Tack as needed to hold crepe in place, being careful to retain a light, 
graceful appearance. 

For more minute directions for making, refer to articles on covering frames, 
as in preceding article. 

Crepe hats and bonnets are usually made on buckram frames, to give a firm 
foundation to pin a veil to, but if a lighter hat be desired, wire or cape net frame 
may be used instead. 

29 



Mourning for Widows. 




FIGURE 2r. 

Widows are expected to wear small crepe bonnet and crepe veil two years 
then mourning silk bonnet may be worn with nun's veiling- veil for another year. 
At end of third year, veil may be laid aside, and polished jets, black and-white, 
gray, purple or lilac may be worn. 



/Vlourning for Mothers. 

The length of time for a mother to wear mourning for her child depends on 
its age; if grown, from two to three years, if younger a shorter time. Crepe veils 
are usually worn by widows and mothers for first mourning, but those made of 



nun's veiling or of silk grenadine are lighter, more graceful and less injurious to 
health. When veil is thrown back, a plain net or tulie face-veil is worn, some, 
times finished with a narrow border of crepe. 

Under crepe veil is worn a small bonnet, first of crepe, later may be of nun's 
veiling. 



Mourning for Children. 

Small children may wear white or black when bereft of their parents, while 
larger children wear deep mourning for a year. Crepe may be laid aside the 
second year, and if black is worn the third year, it may be considerably lightened 
by white or gray. 

Children usually wear mourning for grandparents one year. 

These are the extremes of fashion in mourning, but latterly many people are 
coming to consider the wearing of mourning simply a fashion, depressing to the 
wearer and all about her, and the wearing of such deep mourning and for so long 
a time is coming to be considered by many as mere vulgar display. 



Draping Mourning Veils. 

Widows, in first mourning, frequently wear crepe veil over the face. To be 
worn in this way, deep hems are turned up on right side of each end of veil, and 
veil is secured to bonnet so that one end hangs over the face and the other down 
over the shoulders. Centre fold of crepe is placed at centre front and centre back 
of bonnet, then veil is pinned to front of bonnet, without fullness, with small or 
medium sized dull jet pins. Veil is then drawn back, laid in backward turning 
plaits, with the same kind of pins as those used in front, one in each plait. 
Veil draped in this manner is all right side out except the hems. 

To determine which is the right side of crepe, lay it on a table with selvedge 
towards you. If the ridges XMwfrom you from left to right, the crepe is right side 
up. 

A common way to drape a veil which is to be worn off the face, is to fold the 
veil crosswise, one end longer than the other, the shorter, upper end showing 
the right side ot the crepe, the lower, longer end showing the wrong side, while 
both hems should be turned on the out-side when veil is folded. The lower hem 
may be the deeper by an inch or more. Put centre of this crosswise fold to centre 
front of hat, and fasten fold to edge of bonnet with dull jet pins. Secure cen- 
tre fold of crepe to centre of back of bonnet, arranging in backward falling folds 
at each side of crown, fastening each fold with a dull jet pin. 

31 



To obtain the shawl effect the veil should have the same width hems turned to 
the right side at both ends, then it should be doubled lengthwise, center of this 
lengthwise fold to centre front of bonnet, and fold should be secured to front of 
bonnet with dull jet pins. Arrange fullness in even plaits on both sides of crown 
of bonnet, so shawl-like corners will hang gracefully over each shoulder, and 
fasten each plait with a dull jet pin. See figure 27. There is no strict rule for the 
placing of the plaits, the taste of the wearer and manner of dressing the hair de- 
ciding this point, but the veil must hang evenly on both sides. 

The length of a mourning veil is determined by the taste and height of the 
wearer, and the manner in which veil is to be draped. 

The manner of draping mourning veils is subject to change, but the styles 
jriven above are in most general favor, and anv one who has mastered these 
should be able to adopt others readily. 



Veils. 

Veils are becoming to women in general, and prevent the hair from being dis- 
ordered by the wind, two very good reasons for their great popularity. Plain tulle 
and net come in all colors, are pleasant to wear, and better for the eyes than 
coarser meshed veilings, and we may choose from an endless variety of dotted 
nets and fish nets. 

A heavier silk veiling or tissue is useful in traveling, especially on the water, 
and to protect the face from sun, wind and cold. 

From I to i«4' yard of veiling will usually be sufficient to go comfortably 
around a hat, and % to i yard will be required to wear with a bonnet. Where 
special protection is required from sand storms or cold, a scarf of tissue 2^ yards 
in length is sometimes wound about both head and neck. 

Lace veils also come ready made. These are more expensive than veiling 
by the piece, but many of them wear better. Women with dark hair and eyes 
and bright color can wear veils with the dots larger and closer together than 
would be becoming to others. Dark women with clear skins may wear white 
veils, while one who has not much color, with light hair and eyes, is apt to look 
better in a black veil with small meshes, and small dots far apart. White veils 
tend to make the skin look fairer. A veil that is pretty, and usually becoming is 
fine white with small black dots not too close together. 

A brown haired blond is apt to look especially well in a brown veil a little 
lighter than the hair. A dark blue veil makes the skin look clear and fair. A 
green veil makes the wearer look ghastly unless she has a high color. A red veil 
makes any but a very pale woman look as though she was intemperate. 
White chiffon veil gives a rice-powdered appearance to the face, which is by 
many considered very becoming. 



Communion and Confirmation Veils. 

Among Roman Catholics, a girl goes to her first communion dressed in white, 
with a long, white veil of blond illusion, tulle or Swiss, and the same is worn for 
confirmation, whether both ceremonies occur the same day or at different times. 
The veil must be long enough so that when centre is over the head, the six inch 
hems fall to the bottom of the dress at each side. 

To adjust this veil, fold back one side three or four inches at the centre to lay 
over the head, secure it to the head under a wreath of flowers, letting the other 
side of veil hang at the back, while the ends hang at the sides. If material is so 
wide that back of veil hangs below the dress, take up in plaits under the wreath. 

The flowers are usually white, but occasionally pink or some other delicate 
tint is used. 

The ceremony is always so long, natural flowers would fade, so artificial ones 
are always used. 

Sometimes the veil is not hemmed but has instead, across the ends or entirely 
around it, lace edging one or two inches wide. 



Insertions. 




FIGURE -JS. 

Lace insertion may be put just back from edge of brim of hat, with enough 
of the straw, velvet or other material of hat inside of it to make the lace a decided 
feature of the brim, and to sew wire to, for the purpose of keeping brim in shape. 
If point d' esprit or any net be used for an insertion, it may be gathered at each 
edge with an over-and-over stitch to form a puff. A fold or silk wire should be 
at each edge of lace on under side of brim. 

Similar insertions may be made of lace straw, fine jet in an open pattern, 
grasses woven in a fanciful manner between wires near edge of brim and some- 
times these insertions are in the side crown. See figure 28. 

33 



Combinations. 




FIGURE 29. 

There are seasons when one sees combinations of every imaginable sort-lace 
with far, felt, velvet, or in fact, any material except black crepe ; two or three 
kinds and designs of straw or other braids ; crown of some woven fabric with 
brim of straw, and vice versa ; felt combined with velvet ; velvet with silk, satin, 
fancy braid and so on indefinitely. See figure 29. For these combinations, as for 
shapes and trimmings, one can only watch the monthly or quarterly fashion re- 
ports, and follow the leading of the world's great ariisles. 

Tam O'Shanter and crushed crowns, also toques and small bonnets may be 
made in many ways and of an infinite variety of materials. See figure 29a. A 
square or round embroidery frame, with pins at equal distances, may be used in 
weavino- chenille, baby ribbon or felt cut in narrow strips, somewhat after the 
manner of the weaving done in kindergartens except that instead of cutting 
the material in short lengths, it is wound about the pins, so making loops for a 
finish at the edge. Straw buttons or jets may be sewed at crossings around the 

edge or all over if desired. 

If this woven piece is a square, corners may be made into rabbit's ears or 
wings for trimming and the rest crushed to suit the fancy, or a plateau thus made 
may be gathered or plaited into Tam O'Shanter crown. 

A pretty little crown may be made by winding chenille around the wires of 
frame, as in figure 29. Artificial grasses may be used in same way, and either 
may be laced through and about the wires of brim as in figure 28, or brim may 
be of velvet, straw or any other material preferred. 

In making hat or bonnet with crushed crown it may be well to first 
experiment with tissue paper, pinning it to frame until a becoming arrangement 
of folds and puffs has been secured. The paper may then be removed from 
frame and used as a pattern for cutting the goods. 




Combining Colors. 

If hat be desired to match a gown, select color carefully. Material of g-own 
need not be used, or even of the same color, but color must be in perfect harmony, 
either matching or contrasting. 

We have various kinds of the same color, as in browns for instance, where 
we have red brown, golden brown, olive brown and gray brown. Never put 
two of these together, better use another color. 

In combining colors great care must be used. If pink is to be put with brown 
it must be a yellow or salmon pink, and the brown must have a tinge of yellow 
and of red. 

Green to combine with golden brown, must have yellow in it, and the brown 
must show a green tint. 

Black and white must never be used together in equal quantities, but always 
more of one than the other. 



Bonnets and Hats. 

It is an almost universal, erroneous idea, that if a lady begins to wear a 
bonnet she is considered to have reached maturity. This however is a mistake. 
On the contrary many a woman gains in size after having reached her thirtieth 
year, and in that case a round hat is no longer becoming to her, unless she com- 
mands a good height, while a small bonnet trimmed with a feather pompon, 
aigrette, lace fans and jet, or flowers, revives the youthfulness of her appearance. 
A bDnnet can be made by the trimming, to look like a charming little nothing, or 
like a more substantial covering suitable for an older woman. 

Hats for children under twelve years of age should be simple — not too 
heavily trimmed and not bent too much in irregular shapes, a simple, flat hat is 
more becoming. Leghorns are always popular and in good taste, and may be 
trimmed with lace, flowers, feathers and narrow ribbon. White mull shirred hats 
are pretty for children, trimmed simply, with flowers, or loops or rosettes of the 
mull. 



Caps. 





FIGURES 30 and 31. 

As of bonnets, so we may say of caps — the simpler ones are more becoming 

35 



to young ladies, while for older ladies more elaborate designs should be chosen. 
Caps are not so commonly worn in America, but in Europe, particularly in 
England, France and (Jermany, every married lady, vvhatever her age, wears a 
cap in the morning to heighten her charms, as it is not considered in good taste 
to dress the hair elaborately for breakfast. Some American ladies like to wear 
caps, so we will give suggestions for making one suitable for a young married 
woman and one for an older one. 

1. Cut a band of cape-net one or two inches wide, curved to fit the head, or it 
may be wider in the centre having a point in front. Wire it all around and bind 
with narrow ribbon. Take a lace handkerchief or form one from a piece of light 
material, as crepe or net with lace edge around it, put two plaits in centre of it 
and sew it on the frame, one corner overlaping cer.tre front of band while the 
opposite corner falls over towards the back. Fold the two remaining corners 
lightly and fasten one at each end of band. Trim with rosettes or bows of num- 
ber four ribbon. 

2. Cut a band of cape-net i ji inches wide, 17 to 20 inches long, slightly curved 
to fit around the head. Fit into this a crown cut circular or oval and gathered or 
plaited into the band, to make a more substantial covering for the hair. The 
crown should measuie from 7 to 9 inches across. Side-plait iK to 2 yards of 
lace 2 inches wide and sew it on the inner side of band, while outer edge of band 
is finished with a soft twist of number six ribbon, ending in a small bow if desired. 
Some ladies like strings of material of cap, or of ribbon, fastened at the sides, to 
be tied under the chin. The joining of crown and plaiting is covered with loops 
and a twist of the same ribbon. 

For nurse-maid's cap, cut a band of mull, as for the second cap described, 
and circular crown of mull 10 inches in diameter. Gather edge of crown and 
sew it to the band, dividing fullness evenly. Cut a lengthwise strip of mull 3 
inches wide, hem it and sew narrow lace on the edge of it, then plait and sew 
it all around edge of band. Finish the cap with a bow of ribbon in front over the 
frill and one under it, twist ribbon around the crown to cover joining of crown 
and frill, or twist may be of mull if preferred. Some like a bow wiih long ends of 
ribbon at the back. This cap may also be made of Swiss muslin, instead of mull. 




FIGURE :2. 

A cap sometimes worn by widows, is cut in a manner similar to the infant's 



3« 



cap, or head-piece may be narrow and crown lars^e and full. This cap is simply 
made, being- trimmed with two or three double frills puffed over a round stick, 
and a flat bow made of a strip of the material finished at the edg-es with a rolled 
hem. Strings with rolled hems at sides and deeper, hemstitched hems at ends, tie 
under the chin. This cap is usually made of tarleton. See figures 31 and 32. 



Burial Cap. 

Same as Fig-ure 32. 



Jewish custom requires that a married woman be buried in such a cap or in a 
more elaborate one. Of course others are buried with a cap or without as has 
been their custom in life. 



Caps for Children. 






FIGURES 33 34, and 35. 

The making of caps for children is really looked upon as a business by itself, 
but in some cases it might be desirable to have the work done at home or by a 
milliner, so we give a few hints which will be found useful in making- them. 
Infants' caps are usually made in two or three pieces, front, head-piece, and crown. 
The former has a narrow shirring around outer edge with baby ribbon drawn 
through, ends marked by dot are joined in a seam, and back is gathered over top 
between notches and sewed in a scam to the crown. 

This cap may be trimmed with one or more plaitings of narrow lace and 



87 



finished with a rosette of lace or baby ribbon. For baby in short clothes full 
ruche may be used and rosette may be of wide or baby ribbon, or a frill 4 or 
5 inches wide at centre front, sloped to i or 1% inches at the sides may finish 
front of cap and back may have a cape like frill in front, usually of embroidery. 
Length of head-piece may be from 12 to 14 inches, accordingf to size of head, and 
width from 6 to 8 inches. Sometimes the crown is long, with head-piece sewed 
to top and sides of it, or a puff may be between a narrower head- piece and the 
crown. 



Plaiting and Ruching. 

SEE FIGURE 4SB. 

Plaitings are known as side plaiting-, in which the plaits are all laid one way, 
and box plaiting, in which half the folds are laid to the right and half to the left. 
See figure 48B. Accordeon plaiting is made in a machine made for the purpose, 
but side and box plaiting may be made without a machine. See figure 48 B. 
In making side- plaiting, lay the plaits all one way and baste near upper edge 
with a running stitch in each plait, so thread can be drawn to bring plaits closer 
together or farther apart. This may be used to bring lace in shape to lay on brim 
of child's hat, and for under-facing brim, of all kinds of fancy or velvet hats. 

To make box plaiting take material crosswise ; of silk, velvet or crepe, cut 
bias. Take a long needle, (milliner's needle), and strong thread or silk, form a 
plait toward the right, then toward the left, deep enough to allow a stitch to be 
taken through entire plait. Continue in like manner without drawing the needle 
out, but when it is full of plaits slip these back on the thread as new plaits are made, 
till the thread is all used. Begin with a new thread a little further back to give a 
good hold, while the old thread remains unfastened so it can be drawn to bring 
plaits closer together or farther apart. The box-plaits may be doubled, tripled or 
quadrupled, the method of making them is the same— the two, three or four to 
the risrht beinemade first, then the same number to the left. If desired, the folds 
may be pressed in with a hot flat iron, laying a wet cloth over the goods, or if 
material will not bear such treatment, baste the plaits carefully, steam over boiling 
water and dry before handling There is a small plaiter which saves the trouble 
of basting and the risk of marking the goods with stitches. This plaiter is very 
useful to have in every millinery establishment. 



Fringing. 

If a bias piece of silk is to be fringed for ruching, pompon or any other trim- 
ming, it can be done easily, evenly and quickly in a sewing machine, with a 
fringing needle. In case such a needle cannot be procured, a common sewing 
machine needle may have the point dulled to answer the purpose. Shorten the 

38 



stitch, place work in machine as for sewing, as deep as fringing is desired, then, 
without threading the needle, run machine, holding strip of silk tightly, with one 
hand ahead of the needle and one behind it. 



Diamond Smocking. 





FIGURES 36 and 36 1^. 

Diamond smocking may be used in millinery with good results, as an inser- 
tion on a bnm or edging of an English crepe hat, or for a crown of various 
materials, so we herewith give a description of the manner in which the work 
is done. 

First, mark the distances quite evenly, in square, as in figure 36, 3I inch 
apart. This is the suitable width for heavy material, as silk, velvet, soft felt and 
English crepe. For lighter material, as crepe lisse, French crepe, Brussels net 
and chiffon, a larger space would produce a prettier effect. The section to be 
smocked may be marked in lines, with French chalk or thread of a contrasting 
color, in the direction in which smocking is to run ; then on each line dots are 
made to indicate where the catching together is to be done. For greater facility, 
the marking may be done with the aid of a piece of cardboard. 

The folds are to be caught together, in even distances and fastened with two 
or three over and over stitches. Begin at the top, take the first two rows of dots, 
beginning at the right, as shown in figure 36. Then pass the needle underneath, 
and out through the second dot below. Continue in this manner all through the 
line, connecting alternate dots and leaving alternate dots. Now begin with the 
next line, and in like manner connect the dots of it and the dots left between the 
dots of the line next to it of the two first caught together, passing the needle 



39 



underneath and out through the second dot just below, as shown at figure 36. 
Then pass the needle through and fasten tightly. The following rows are done in 
a similar manner. The way the thread should lie between the folds on the 
wrong side is illustrated. The side we have called the wrong side can also be 
used as the right side, forming little puffs, in which case the thread, instead o' 
being passed through the material is just carried from one dot to the next on the 
side on which the stitches are made. 

Another way of finishing the reverse side is by using silk or thread of a 
contrasting color, as gold thread on black. The dots are caught together as 
explained in the first method described, with this difference — the thread is carried 
diagonally underneath, as shown in figure 36^, instead of straight up and down as 
in the first method. Be careful not to draw the threads too tightly, and the effect 
will be a very pretty one. 

The smocking is done in lines from top to bottom, one line being finished 
before another is commenced, and the thread should always be kept to the right 
of the needle. Two or three over-and-over stitches will suffice to make the 
fastening. Take care not to entangle the threads in the folds of the side which 
forms the puffs, usually called the wrong side. 



Shell Edge. 




FIGURE 37 



Facing for under side of brim of hat may be shirred so as to leave a pretty 
shell edge, by running two or three shirrs in points or scollops, as in figure 38A. 
When shirr threads are drawn, the material will take the form of shells. This 
shell edge is also pretty on outside of shirred hat, instead of plain frills. 

Cut a paper pattern the desired size and mark material from it, or use a tape 
measure. For medium sized shells, let points be i^ or 2 inches apart. A 
similar shell may be made of U inch ribbon (silk, satin or velvet) and used as a 



40 



trimming. Points must be closer together, of course, say 3^ to i inch, and one, 
two or three shirr threads may be used. 



Shell Trimming. 




FIGURE 38. 



An effective trimming to use instead of fiat band or milliners' fold for a hat 
or bonnet is illustrated in figure 37 B. A pretty bonnet seen recently was of 
mourning silk and had a row of this shell trimming at the edge and a second row 
just back of the first, made of j^ inch gros grain ribbon laid flat and slip-stitched 
to the bonnet before it was trimmed. To make diis trimming of silk, satin or 
velvet ribbon, mark the edges and the centre of wrong side of ribbon, with French 
chalk. The dots at edges should be as far apart as width of ribbon, and exactly 
opposite. The dots in centre line are the same distance apart, but instead of 
being just opposite they are K of the way between. Commence at end of ribbon 
catch the first dots at edges together with two over-and-over sttches, drawing 
them lightly, leaving right side of ribbon out. Then take two stitches at first 
centre dot, drawing it close to edge — dots just joined, to give shell effect, as in 
figure 37 B. Catch edge dots and centre dots alternately until desired amount of 
trimming has been made. This trimming can be made of various materials 
cut bias and made into flat bands, then into shells. If velvet be used, the add- 
ed thickness will make it necessary to mark for stitches farther apart than width 
of band, perhaps iX the width. 

41 



Flat Band. 




FIGURE 33. 

Cut material bias for all folds and bands. Crepe bands and folds must have 
the ridges running- straight across them. 

For narrow flat band, cut material twice the width band is to be, turn edges 
under to meet at centre, and join with the flat carpet stitch. See figures 39 and 39!. 
Wide bands may be made same way, or edges may be finished wi(h hems, blmd- 
stitched, or bands may be double with edges turned in and slip-stitched together. 
The joining may be at edge of band or in the centre on under side. 

This last method is the one to use in making plain crepe bands. Crepe band 
may also be finished with hems turned over on the right side and slip-stiched. 
If these bands are to be used for loops or bows, wire maybe slipped in the hems 
if necessary to hold in shape. These hems should be handled as lightly as 
possible, to avoid crushing them. See figure 391. 




^ 



/ L 




FIGURE 3954 



To Obtain a Perfect Bias. 




FIGURE i). 

Fold goods from one corner of piece so straight end lies on selvedge or a 
lengthwise thread. The/o/d is true bias. 



42 



Milliners' Fold. 

FIGURE 37C. 

Cut material three times the width fold is to be. Turn under first one edge 
then the other, so the three thicknesses are of equal width, and the crepe or other 
material right side out. One "raw ' or cut edge will be in sight— turn this in and 
slip-stitch to the next thickness, being careful not to sew through the last one. 



Round Roll. 

FIGURE 37D. 

Cover a large, soft cord with a bias band of heavy material, or roll broaaer 
bias strip tightly from each edge, and when the rolls meet, slip-stitch together or 
join them with over-and-over, or selvedge stitch. 



Rolled Hem. 





FIGURE 41. 



Used mainly for muslin cap-string, roll edge of goods, and blind-stitch as 
in figure 41. 



Stitches used in Millinery. 

Through-and-Through, or In and Out Stitch. 

Either name explains manner of taking these stitches — needle is put through 
material from outside to inside, then back through material from inside to outside. 

43 



Over and Over Stitches. 

Needle is put through material always from the same side, thread being 
carried over edee between stitches. 



Running Stitch. 




FIGURE 46. 



To run, (as for a shirr), put point of needle through material from right side 
to wrong and back from wrong to right for each stitch. Take stitch after stitch 
for entire shirr without removing needle from material — simply slip stitches back. 



Back Stitch. 




FIGURE 4rA. 

Put point of needle through material from right side to wrong and back from 
wrong to right for each stitch, and draw needle and thread through the stitch. In 
back-stitching through frame, (as in covering top of crown), the stitches are taken 
through and through, setting needle back each time it is put through from right 
side to wrong. 

44 



Feather or Flannel Stitch. 

FIGURE 4rC. 

This is the same as would be used in laying open a seam in flannel, but in 
millinery it is only used in hemming and in sewing on ribbon-wire. In sewing 
edge of cover of upper side of hat brim or bonnet to frame, take one 
stitch near edge of goods and the next through frame, being careful not to sew 
through to the right side. 



Hemstitch. 

FIGURE oTE. 

Ordinary hemming is not admissable in millinery, but where hems are turned 
a running stitch is used in making hem in lining, to run the ribbon in hem to 
edge crepe or other bands is blind-stitched, and veils are hemmed with the same 
usually, but a veil of nun's veiling is very handsome if hemstitched. 

To do this, draw several threads from goods back of hem, and take stitches 
as in figure 37E. 

Hems in ends of muslin cap strings may be made in this way, and sides may 
be finished in same way or with rolled hems. 



Blind Stitch. 




FIGURE <18A. 



Take up with the needle one thread in goods back of hem, or in heavy goods 
sew part way through the material. Put needle into fold at edge just opposite 
this stitch and carry it in this fold to the next stitch, as in figure 48A. 



45 



Slipstitch. 

FIGURE 3rF. 

In joining' two folded edges, as ends of band around side-crown, needle is 
passed from one fold directly to the other, thread being carried in first one fold 
and then the other between stitches. 



Buttonhole Stitch. 

FIGURE 4rP. 



What is spoken of in millinery as button-hole stitch is not the stitch used in 
making button-holes, but the stitch used in embroidery in making button-hole 
edge, and is worked from left to right. 



Flat Carpet Stitch. 

For joining edges without lapping, as the cut edges of band for trimming, 
take stitches through the material from under first one side then the other, as in 
figures 39 and 392. 



Brace. 




FIGURE 6J. 

A brace is a small oval or round piece of cape-net edged with wire. 

Brace may be covered with velvet or silk if hat is so thin that it may be seen. 
Trimming should be arranged and sewed firmly to brace, then a few stitches will 
secure brace to hat. Trimming will look lighter and be firmer than if sewed on 
hat with a brace, while hat will not be marked or broken by so many stitches, 
as brace covers at least one square inch, and long stitches in hats hold better than 
short. 

46 



Ribbons. 

Ribbons are used in millinery in a great variety of ways, in both making and 
trimming. In making, ribbon is used chiefly for bonnet ties, though often whole 
hats and bonnets are made of ribbon either shirred or pleated, but in trimming it 
is used in bows, rosettes, twists, bands, fans, bindings, frills, shell trimmings, 
streamers etc. Those not quite certain of their skill in using ribbons are advised 
to practice making bows and rosettes particularly, with tissue-paper or strips of 
paper-muslin, as ribbon loses its fresh look if handled much — the more quickly 
these trimmings are made and gotten out of hands, the lighter they are. 



Wiring Ribbon. 



Ribbon to stand in long loops or ends may need wire to keep it in place 
Fine silk wire color of ribbon is secured to wrong side of ribbon with button-hole 
stitches in fine silk same color The stitches must show as little as possible on 
right side, but may be ^ to i inch apart, silk being carried along the wire at back 
of ribbon between the stitches. Ribbon must be slightly looser than wire, or 
when made up wire will be too much in evidence. Some ribbon is so made that 
wire can be slipped into it. When edge of ribbon is to be turned back, wire may 
be sewed to right side where part reversed will cover it. Never hem edge of 
ribbon over wire. 



Bows. 



"H^^^ 





Demi Rosette Bow. 



Spider Bow. 



FIGURES 56 and 57. 

Many people say that to make a pretty, stylish bow, one must be a born 
artist, but while we consider a taste for the work is decidedly desirable, we still 
maintain that very much may be accomplished by careful study and practice. If 
ribbon be thin, or loops or ends are to stand, wire will be needed. Ends some- 
times stand better if wired near edge, especially if end is cut, so one edge stands 
quite high. 



47 





How for back of Hat. 



FIGURES 55 and 58, 

To learn the art of bow-making-, select a pretty model and copy it as nearly 
as may be. Better copy well than waste time experimenting without suggestion. 
Then, too, by doing any work without proper guidance, one is apt to choose the 
hardest way and not obtain the best results. In beginning to make a bow, begin 
with an end of the ribbon, either long enough to appear as part of the finished 
bow, or if this is not needed a short end may be sufficient for a hold for wire. 
Plait ribbon as near the end as desired, then far enough on to give first loop. 
Wind with fine wire or strong thread to hold this loop firml)^ Then make the 
next loop, winding it as close as possible to the first. Make the required number 
of loops, then tie ribbon tightly around to hide the wires, or if obliged to econmize 
in the use of ribbon the knot may be sewed, but it is usually prettier tied. If 
ends of ribbon left in beginning and in finishing bow be not sufficient, ribbon for 
more ends may be drawn into this knot, or one or more loops may be cut open. 
Two yards of four inch ribbon will make a large, full bow, but narrower ribbon 
will require more. See figure 60. 




Alsatian Bow. 

FIGURE 51, SEE FIGURE 18. 

This bow is made of wide ribbon, has no ends, and has an even number of 
loops (usually two) on each side of the knot. Make a long loop, two shorter ones 
of equal length, then one the length of the first, and tie a knot between the two 
small loops. Remember to make " waist '' of bow small, and draw the knot iighi, 
a loosely made bow is never pretty. 



Butterfly Bow. 




FIGURE 52. 



This has two loops of equal length and two ends of equal length, tied tio-htlv 
and arranged to suggest a butterfly. 



Aigrette Bow. 




FIGURE 53. 

A bow may be made with one long loop, wired, or several ends, made to 
stand, with short loops of equal length surrounding it, so that the long loop or 
several ends simply stands in the centre of a rosette. 

Small bows made with several short loops and ends of narrow or moderately 
narrow ribbon are often very effective. 

49 



After making a few bows from the foregoing descriptions and by copying 
pretty models, one should be able to use the suggestions offered by pictures or 
fashion plates. 



Rosettes 




FIGURE 45. 

Rosettes of velvet, cloth, silk or English crepe are cut bias. Thin materials, 
as crepe de chine, Brussels net, chiffon etc., are used straight way of goods, 
preferably cut in cross-wise strips, but may be used lengthwise if need be. 
Length of strip required depends on size of rosette, one yard answering nicely in 
many cases. Velvet rosettes require the least goods and net the most. Two 
strips across double- fold net will make a rosette of medium size. Whatever the 
material (except ribbon), it is used double, so the strip must be as wide as 
rosette is to be when finished. Double stiip lengthwise, and gather or plait the 
cut edges, then roll to form rosette, or gather up a little irregularly so it will no* 
have a too stiff, ''set'' appearance. 

Rosette may be made of a circular piece of the material gathered or plaited 
at edge, sewed around edge of a round brace, then the extra fullness caught to 
brace in such a way as to form rosette of little puffs. 



Ribbon Rosettes. 



Ribbon maybe gathered or plaited on one edge, and made into rosettes, or 
ribbon one or two inches wide may be looped in equal lengths, each loop plaited 
closely, and sewed to a small circular piece of cape-net. 



50 



These ribbon rosettes may also be made without a foundation, by winding 
fine wire or cotton about each loop as it is made, as in figure 60, making the loops 
as close together as possible where wound, then winding or massing them in 
shape to form rosette. 



Baby Ribbon Rosette. 




FIGURE iJ. 

These are made on a cape-net foundation, or on a strip of ribbon or wire. In 
either case it is essential to have the loops of an even length, which may easily 
be obtained by winding the ribbon over the fore-finger of the left hand. Sew each 
loop separately to a foundation, turning ribbon back upon itself between loops, 
beginning at outside of rosette and finishing in the centre. If rosette is not to be 
made on foundation, sew loops to a band in a row, or wind with wire, one loop 
after another as close together as possible, then roll this succession of loops to 
form a rosette, beginning in the centre. See figure 54. One piece of ribbon makes 
a pretty large rosette. 




FIGURE 54, 
51 



Choux Rosette. 




FIGURE 44. 

Plait end of 2 inch ribbon a little on the bias and sew to edge of foundation. 
Wind ribbon over left forefinger to form loop, plait a little bias and sew to foun- 
dation a little way to the left of point where ends were sewed. In like manner 
make at least 5 loops in a circle for outer edge of rosette, then without cutting rib- 
bon, make about 3 loops of same length, sew where plaited, then sew the 3 in 
centre of circle of 5. 

The French word choux means a cabbage. This gives an idea of appearance 
of completed rosette. 



Lace Trimmings. 

Laces are so light and airy that they are always acceptable to old and young 
for trimming bonnets or hats. They are used in every conceivable way, as ruches, 
frills, rosettes, bows, wings, fans, entwined with other trimming or forming entire 
trimming for bonnet or hat 



Lace Plaitings and Ruchings. 

To make side-plaiting of inch wide lace, allow 3 yards of lace for one yard 
of plaiting. For box plaiting, allow 4 yards for one, and for double box-plaiting 
from six to seven yards will make a good, full ruche of i yard in length. 



Lace Frills. 



Frills may be plaited or gathered, the latier taking twice the length of lace, 
unless it is very heavy, in which case once and a half may be sufificient. 



52 



Lace Rosettes. 




FIGURE 43. 

Rosettes of medium size require from 2 to 3 yards of lace, and may be either 
plaited or gathered. 



Lace Bows. 




FIGURE 61. 

These would, in most cases, require fine wire to give firmness. If lace is in 
an open pattern, wire may be drawn into the meshes, if not, wire may be sewed 
to wrong side with button-hole stitches, or wire frame may be made and lace 
drawn over it. 



Lace Wings 

For these, wire frame must be made, shape of butterfly's wing being pretty, 
lace being drawn over either plain or a little full, according to taste and the thick- 
ness of the lace. 



Lace Fans . 

See Figure 62 

These are usually made fuller than wings, therefore wires must be sewed 
across the lace at intervals, close enough to properly support it. 

To wire lace, first bend back end of wire to form a loop, through which two 

53 




FIGURE 62. 

button-hole stitches are taken close together fastening- lace near top to wire so it 
cannot slip. It is advisable to cut wire i inch longer than it appears to be needed, 
so lace can be drawn tightly, and wire be left to turn for the sewing on, else 
it will not slay in place. After lace has been properly wired, gather edge and 
sew, with ends of wire, to a small piece of cape-nei edged with wire, called a 
brace. Fasten wires of fan to edge wire of brace, then fan can be arranged to 
suit the fancy. 



Flowers. 

SEE FIGURE 23. 

Flowers may be worn by all except those in heavy mourning, or at the ex- 
treme of youth or age. In the earlier changes from the first to lighter mourning, 
black flowers are used, but later white, gray and some of the purple, lilac or 
lavender shades are in order. Some mothers, wishing to retain their own youth- 
ful appearance as long as possible, keep their little girls in the baby bonnets, first 
of the dainty.soft, white materials which only admit of embroidery, lace or narrow 
ribbon as garniture, and then in bonnets of fancy silk to match the coats, and 
these may not have a flower on them. These bonnets are clung to by some until 
the child is ten or eleven years old, but many little girls are allowed to wear hats 
at a considerably earlier age. The flowers worn by children are simple, favorites 
among them being field flowers, mixed with grasses, or daisies, butter-cups and 
wild roses. Children's hats should have but lew flowers unless used in wreaths. 
As the child grows older the selection of suitable flowers for her hat or bonnet 
becomes more difficult, requiring more care than the casual observer is aware of. 
Many flowers please the eye and thereby blind the taste. 

To besrin with, the rose, in artificial as well as in natural flowers, is a prime 
favorite, and in the former is suitable for hat trimming for young and old, but 
while the child may wear wild roses, the young lady confines her choice to moss- 
roses and the lighter and brighter shades, only wearing white roses in common 
with her older sisters, and these only on white hats, trimmed in white or in the 
light or bright colors. As she grows older, she finds white roses more becoming 

54 



if combined with black or the more quiet colors, if red, the deeper shades, until 
the last red rose she will find becoming- will be maroon. The only lighter ones 
found to be suitable in advanced life are white and various shades of purple, but 
these will be used with black or the darker colors, and the last roses a woman 
ol good taste may wear will be black. So on through the entire list of flowers — in 
early life, white, pale blues and pinks, and as the years increase, first light yellow 
may be included then the brighter and darker shades of various colors, also in 
richer, handsomer materials, as velvet pansies, which are very becoming to the 
matron, but not at all suitable for the young girl. 

Violets were formerly only worn by the elderly, but of late they have been 
universally worn, being extrem.ely becoming to youth if combined with other 
flowers, say pink roses for a young girl or with the further addition of mignonette 
a little later. Pinks, forget-me-nots, and the smaller spring-blooming flowers of 
light, delicate colors are in order for the youthful, larger flowers of more pro- 
nounced colors and rarer types, as exotics, etc., maybe worn by women at the 
height of maturity, while as years begin to cast shadows, simple elegance in this, 
as ni other details of dress is always most satisfactory. In fact, we may take a 
useful lesson from nature, in her clothing of the year — in spring simple wild 
flowers, chiefly in delicate colors, with the fresh green foliage. As the year ad- 
vances, larger flowers in more brilliant colors, with fully matured foliage, then 
in autumn fewer flowers, in more subdued lints, fruits, where in spring she gave 
flowers, and frost paints the foliage in the richest tints, while at last, snow throws 
her mantle over all. 

So, in the selection of flowers, foliage and fruits for use in millinery, we pass 
from the types already mentioned to cornflowers, hyacinths, narcissus, poppies, 
daffodils, mignonette, snow-balls, heliotrope, tulips, chrysanthemums, hibiscus, 
pansies, orchids, berries and sinall fruits with corresponding foliage. 

A small bonnet to he worn in the height of gaiety, as at theatre, opera or re- 
ceptions, may be made wholly of flowers suited to the age and complexion of the 
wearer, but for other, graver occasions, flowers are used sparingly on small 
bonnets. 

Of course, these are only general rules and subject to change — in fact, there 
are seasons when all rules seem to be cast aside, and some one flower, perhaps in 
but one color is in such general favor as to be worn by all and on all occasions 



Feathers. 



Feathers are in as great demand in millinery as ribbon, being quite in order 
for all seasons, all ages beyond baliyhood, and in trimming hats and bonnets of 
all materials with the single exception of black crepe. Even with crepe they are 
sometimes used, but, there is rarely a season when such a combination is ad- 
missable. Feathers are used more some seasons than others, but ostrich feathers 
are always in style for trimming hats and bonnets in general in winter, and on 

55 



Leghorn and Neapolitan particularly, in summer, while fancy feathers are worn 
on hats or bonnets of all kinds in all seasons. 

Ostrich feathers are used in long plumes, tips and pompons, the first suitable 
for large brimmed hats, while small tips are charming for bonnets, toques and 
small hats or large ones, also pompons, when worn, are suitable for all shapes 
and sizes of hats and bonnets. 

Pompons may be classed among fancy feathers, as also aigrettes, cocks, 
plumes, quills and marabout feathers. The last are very effective trimming for 
children's hats, on account of their lightness and gracefulness. These feathers, 
like swan's down, may be made into bands for trimmings. Wings and birds of 
various kinds, parrots, black birds, doves and others, down to the smallest hum- 
ming birds are used on hats and bonnets in spite of the numerous societies for the 
preservation of small birds. Aigrettes are very graceful and well worth their price, 
as are ostrich feathers, as they can be used repeatedly without losing their beauty. 
Feather edging when in fashion, makes a pretty finish for a hat or bonnet, but 
narrow edging is more dainty, and in almost all cases, more becoming than 
broad. Small feathers are sometimes secured to foundations to imitate breasts of 
birds, and arranged in similar manner made into bands for trimming, or entire 
small caps and toques are sometimes made in the same way, while novelties in 
fancy feathers are put on the market each season, and manner of using must be 
learned from the fashion plates, which may be varied by the taste of the worker. 

Many have an erronious idea that to trim with feathers is a very easy matter 
— on the contrary, the best of taste is required to enable one to place feathers 
artistically. For instance, wings are bought perfectly fiat, and must be bent into 
proper shape and so arranged as to harmonize with shape of hat, other trimmings, 
angle at which hat rests on the head, manner of dressing the hair, height, propor- 
tion and carriage of the wearer. So, too, with the handsomest ostrich feather, a 
slight turn may make it extremely becoming, when without the correct adjust- 
ment it might have been positively ugly. 

A feather consists of a tube or root, a shaft or midrib, and barbs, which are 
the parts of the feather on each side of the sliaft. In pompons, only the barbs are 
in sight and may be either curled or clipped to give an evenly rounded surface. 
Other ostrich feathers have the barbs curled when they reach the milliner's hands 
as new stock, but after having been used, they can be made to look like new by 
recurling, or if they have lost too much of their freshness they may need to be 
starched before being curled. 



Sewing Feathers. 

To hold a feather in shape, or make available one that has been broken, it 
may be necessary to place a fine wire at the back, securing it with button-hole 
stitches on under side of shaft. Two thin feathers may be put together in a sim- 
ilar manner. 

06 



Cleaning Greasy Feathers. 

To clean greasy feathers, as boa that has been soiled by the hair, dip in a 
mixture of equal parts alcohol and water. Shake dry, starch and curl. 



Starching Feathers. 

Dissolve starch in cold water, dip feathers in the mixture, then dip in dry 
starch and work it into the barbs by repeatedly drawing these between the fingers 
from shaft each way. 

Dry, and remove extra starch by shaking, or if this is not sufficient, use a soft 
brush. 




FIGURE e3. 

Shake out dust, hold between the hands in the steam of boiling water, direct- 
ing steam from centre, each way, turning feather from side to side to thoroughly 
freshen all parts and straighten all the barbs. Hold feather in left hand, as in 
figure 63, separating from the rest as many barbs as may be held between thumb 
and forefinger, firmly, to avoid breaking them, then with a French knife, called a 
curler, curl the ends of these few barbs, by drawing them between edge of curler 
and thumb of right hand, pressing firmly and turning hand in direction the curled 
barbs must take. Continue in like manner along first right side of feather, then 
left, curling tightly at end of feather. 



When so much of the work is done, the feather has an uneven appearance. 
To finish, Jay flat and comb over the edge of a table, with the fine part of an 
ordinary dressing comb. The barbs at tip of feather must be curled tisjhtly (entire 
len,s;-th) so as to cover right side of shaft, then wind tip of shaft around cuiIer to 
make it droop as much as desired, being- careful not to break it. If feather curls 
with difticLilty, or is not likely to retain the curl, place wrong- side up in a narrow 
box and keep in a dry, warm place for a day or two before using. If this is not 
sufficient, starch and recurl. 



Jets. 

Jets are always held in great favor, though some object to their weight; how- 
ever, if used judiciously they may be effective without being too heavy, especially 
when a good quality is used. The milliner rarely finds time to make an entire 
piece of jet for hat or bonnet, the different designs in crowns and ornaments being 
made by persons S[)ecially engaged in that work, but in making over, one may 
find it convenient to know something about it, so as to be able to repair or add a 
little to the original. The pattern of the work to be matched must serve as a 
guide, but the making may be simplified by undoing a little of it, whereby one 
may see that a very complicated looking design is composed of several parts, very 
easy to imitate. Many people, in recalling ihe amusements of their childhood 
may remember quite complicated patterns which they made of beads, strung on 
thread or horsehair. The principles they then used may be employed in arrang- 
ing fancy cut jets in an infinite variety of designs. 



To Freshen Ribbon. 

Steam, holding tightly between the hands to remove creases, or if soiled as 
well as creased, wash in alcohol and water and pin to a smooth surface, as a 
board or an unvarnished table or door, or wind on a round stick to dry, or iron 
on the wrong side with cloth or tissue-paper over the ribbon . 



Moire or Watered Ribbon. 

Some gros grain ribbon will take a moire or "watered" look if washed or wet 
in alcohol and water, rolled on a round stick while very wet, well covered and 
laid aside for a day or two. The longer it is in drying the better. 

58 



To Freshen Velvet. 

Steam over boiling- water or by laying the wrong side on a wet cloth spread 
smoothly on a hot flat iron, brushing lightly if necessary while steaming. When 
steaming velvet, hold straight in the hands, not bias. 

Velvet is sometimes very successfully cleaned by sponging and brushing with 
naphtha, without ripping from frame. 



To Freshen Black Straw. 

If simply dulled it may be made to look like new by applying with a brush 
Asphaltum varnish very much thinned with turpentine. 

Some use shoe polish, but this is usually blue-black instead of jet black, and 
stains badly if rained on. If black chip hats have lost their freshness, take a 
rind of bacon and rub thoroughly over the hat to penetrate straw, then take a vel- 
vet brush and remove all particles of the bacon, and the chip will look as black 
as new. 



To Color Straw, Chip or Leghorn Black. 

Apply with a brush the oil (tube) color, « -Ivory Black," thinned with turpen- 
tine so as to be a stain rather ihan a paint. Better several applications of this 
stain than a?iy appearance of paint on the surface. When color suits, brush with 
the Asjjhaltum varnish, as above if gloss be desired, but in chip the dull black is 
in order. 



To Stiffen Hats and Bonnets. 

To stiffen straw, Leghorn, chip or rough-and-ready " that has been pressed or 
does not need pressing, wet on wrong side wiih gum arable or glue water, pin to 
a table or board and dry. 



To Freshen Straw or Leghorn. 

Brush with white Demar varnish, thinned with turpentine, as advised for 
white straw or Leghorn. 



59 



To Freshen White Straw. 

If but slightly soiled it may only be necessary to brush with white Demar 
varnish, very much thinned with turpentine. 

If considerably soiled it is well to wash with clear water and a brush, dry by 
pinning- in shape to an unvarnished table or board, or by pressing with a moder- 
ately hot iron, then varnish. Use same for white Leghorn. 



To Clean White Straw. 

If greasy or stained, wash wiih a solution of salts of tartar, (a teaspoonful ot 
the salt to a quart of soap and water) using a brush. An ordinary nail brush or 
small hand-scrubbing brush does nicely. 

This alkaline solution will turn the straw yellow and it will need to be 
bleached before pressing or drying in shape. 



To Bleach White Straw. 

If white straw is slightly yellowed or spotted from rain, it may be only 
necessary to hang from a stick placed across top of a barrel, in the bottom of 
which is a dish of burning sulphur. To do this, an old basin or kettle may be half 
filled with ashes hollowed in the middle, a cord laid in this hollow with one end 
coming to edge of hollow. 

Flour of sulphur or roll brimstone somewhat broken up, may be put on the 
cord, leaving one end out. Put ihe dish so prepared in the bottom of a barrel, or 
if many hats are to be bleached, a large box. Fasten a strong thread to crown 
at each side of headline, through which pass a broom handle or stick long enough 
to lay across top of barrel or box, holding hat well above the sulphur. Light end 
of cord leading into the sulphur, and cover barrel closely. Have cover ready so 
this may be done quickly, as the smoke from burning sulphur is very poisonous 
if inhaled. 

If only slightly discolored by rain it may only be necessary to wash with 
clear water or with sour milk or lemon juice. If this should not prove sufficient, 
hang, while wet, over the burning sulphur. 



To Bleach and Clean Leghorns. 

Bleaching over a little burning sulphur may be sufficient, if not, wash with 

60 



soap and water, or sour milk, or lemon juice and a brush, hanging while wet, 
over burning sulphur. If there are pin-holes, work out with the hands while wet, 
or fill with thick starch tinted with saffron, after bleaching. 



Pressing. 

An iron short enough to turn in crown of a flat topped hat is more conve- 
nient than a larger one. With such an iron a plain round hat crown with flat top 
may be easily pressed on the wrong side without a block, and by using a little 
ingenuity, a round crown or bonnet may be pressed on wrong side or right and 
moulded into shape with the hands, as also most of the fancy sliapes. If iron is 
too hot, press over a cloth. Of course pressing must be done before varnishing. 



To Renovate Crepe. 

Dissolve glue in water, simmer for some time, then add milk until the mixture 
has just a little sticky feeling to the hand. 

Thoroughly wet the crepe in this, pull in the hands until nearly dry, then pin 
fast to something to keep it smooth while drying. If a veil, it is well to pin a 
sheet to the carpet, and pin veil to the sheet. Some use alcohol to renovate 
crepe, instead of the glue and milk. 



To Renovate Black Lace. 

Dip in alcohol and water, equal parts, patting between the hands and dipping 
several times to free from dust, wind smoothly about a round stick or bottle, 
covered with black cloth and dry. 

Ammonia and water may be used in same way as the alcohol, if preferred. 



To Clean White Lace. 



If lace is not too much soiled, it may be cleaned without wetting, and will 
look more like new than if wet. There are several ways of doing this, — one is 
with powdered borax. 



61 



Sift a little borax on a paper, lay lace smoothly on it, sift more borax over, 
then another fold of lace, and so on until all the lace is smoothly laid with borax 
between and over all. Fold the paper smoothly, to enclose lace and borax wiih. 
out disturbing, and lay in a book or under a weight for about 12 hours. Then 
shake out all the borax or it will rot the lace. 

IMagncsia may be used in the same way, and has the advantage of not rot- 
ting the lace It may be well to leave lace under the weight without disturbing 
it for two or three days. 

If lace is but slightly soiled or yellowed, some advise hanging over burning 
sulphur without washing. 

If lace is so soiled that it must be washed, cover a bottle with old muslin, 
baste the lace to this, winding smoothly and basting all points or scollops to 
prevent their being turned while washing. Soak in water that has borax dissolved 
in it in the proportion of i teaspoonfull to the pint of water, also some white 
Castile soap. After soaking for an hour or more, put over the tire to boil for 15 
minutes, when cool enough, wash carefully by pressing and rolling bottle in the 
hands, rinse well, last in blue water if lace is not really yellowed, and dry quick- 
ly in the sun. If yellowed put in the sun before blueing, keep wet until 
sufticiently bleached, then blue and dry before removing trom the bottle. 



To Clean Ecru or Butter Colored Lace. 

Sprinkle yellow corn meal on a paper, lay lace smoothly upon it, then more 
corn meal, then more lace until all the lace is smoothly laid with meal between 
and over all; then fold the paper closely, and put under a weight for two or three 
days. It may be well, instead of the paper, to use a piece of muslin, and after 
folding the package, beat it with the palm of the hand. 

If too much soiled it may be nccessnry to wash in the borax solution, as ad- 
vised for white lace. After washing, dip in the solution of saffron, advised for 
butter color, or for ecru add some tea. 



Butter Colored Lace and Ecru. 

Put saffron in a bag and dip in boiling water to give desired tint. If too 
buttery, add a few drops of tea, as much as may be required 



Old Stock. 

Ordinarily it is best to close out stock as closely as possible late in the 

62 



season, but in case it seems best to carry over some things that are likely to be 
useful the next year, they will keep better and look freslier if carefully packed 
away during the intervening- season. Remove trimmings from all made uj) hats 
as far as possible, as these may, some of them be used in the intervening season, 
and the untrimmed hats can be more thoroughly freed from dust. 

Brush well, fold in tissue paper, put in boxes and tie up the boxes in paper 
In putting away felt, put in each box a few inches of such tar paper as is used by 
tinroofers. Feathers, especially birds and wings, are dangerous stock, which 
should be closely watched for moths, and kept from other stock. It is best to 
exhibit these in a show-case during the season of moth-millers, and under the 
paper, covering bottom of case, lay the tar-paper, which the moth-millers do 
not like. 

Old tumbled flowers may sometimes be used by separating the petals and 
sewing them on a narrow braid to make borders for bonnets. 



The author's endeavors have been, to fully explain the subject herein pre- 
sented, but in case she has failed to do so to the full satisfaction of the reader, 
herewith offers to answer any question regarding the details of the work, which 
may be sent to her under the following Address: 

Madame Melcher, Teacher of the Vienna Millinery Institute, No. 30 East 
14th St., New York City. 



63 



LE PETIT MAITRE 



HOME TEACHER OF MILLINERY 



raiDKx. 



Aigrette Bow 49 

Alsatian Bow 49 

Baby Ribbon Rosettes 31 

Backstitch 44 

Bands 24 

Band, Flat 43 

Black Lace, To renovate (jl 

Straw, To freshen 59 

Bleaching Straw 60 

Blindstitcb 45 

Bonnet Frame of Buckram 8 

or Stiff Net 8 

" '• " " , To cover 12 

, Crepe 28 

, Puffed Crepe 29 

, Shirred ] G 

, To make 12 

Bonnets and Hats 85 

" , Crepe 28 

" , Felt 22 

" , Lace 28 

" , To stiffen 59 

Bows 47 

Bow. Aigrette 49 

Alsatian 49 

'■ Butterfly 49 

Lace 53 

" Small 49 

Brace 46 

Braids, Sewing 21 

Bridal Veils 25 

" .Draping 26 

Burial Caps 87 

Buttonhole Stitch 46 

65 



Butterfly Bow 49 

Butter Color and Ecru 62 

" " Lace, To clean 62 

Caps 85 

• ' , Childrens 37 

' ' , Burial 37 

' ' , Widow's 36 

Children's Caps 37 

Chip, Leghorn and Straw. To color black 59 

Choux Rosette 53 

Cleaning Butter Lace 62 

Ecru Lace 62 

' ' Leghorn 00 

White Lace 61 

Straw 60 

Coloring Straw, Chip or Leghorn black 59 

Colored Straw or Leghorn, to freshen 5V) 

Combinations 34 

Combining Colors 35 

Communion and Confirmation Veils 33 

Crepe Hats and Bonnets 28 

Crepe, To renovate 61 

Cross Shirred Hat 19 

Crown Lining .24 

Curling Feathers 57 

Diamond Smocking 39 

Draping Bridal Veils 26 

Mourning Veils 31 

Ecru Lace, To clean. 62 

" Tint - 62 

Facing 23 

Fans. Lace 53 

Feathers 55 

.Cleaning 57 

, Curling 57 

" , Sewing 56 

, Starching 57 

Feather or Flannel Stitch 45 

Felt Hats and Bonnets 22 

Flat Carpet Stitch 46 

Flat Band 42 

Floral Hats 27 

Flowers 54 

Frames 7 

thrills, Lace 52 

Fringing ■ 38 

Hemstitching 45 

Insertions 33 

Introduction 5 

Jets 58 

Jet Toque 13 

Lace Bonnets and Hats 28 

" Bows 53 

' ' Fans 53 

" Frills 52 

" Plaitings and Ruchings 52 

66 



Lace Rosette^ i ^ . * -■■' S3 

' ■ Toque 14 

" Trimmings 52 

' ' To bleach 62 

" , To clean 60 

" , To tint 6^ 

" Wings 58 

Leghorn, '1 o clean 60 

To color 59 

To freshen 60 

Milliners' Fold 'i^ 

Moire or Watered Ribbon 58 

Mourning for Children ^1 

" Grandchildren B 1 

" Mothers - BO 

" Widows BO 

' ' Veils, Draping 31 

Old Stock 62 

Outing Hats 15 

Over-and Over Stitch 44 

Plaiting and Ruching 38 

Plaitings and Ruchings, Lace 52 

Plateau ^0 

Pressing 61 

Puffed Crepe Bonnet 29 

Renovating Crepe 61 

Black Lace 61 

Ribbons 47 

Ribbon, Moire- or Watered 58 

Rosettes 50 

, To freshen 58 

Rolled Hem 43 

Rosettes 50 

, Baby Ribbon 51 

, Choux 52 

Round Hat Frame of Buckram or Net 7 

" Roll 43 

Sewing Feathers 56 

" Straw and other Braids 21 

Shell Edge 40 

' ' Trimming 41 

Shirred Bonnet . 16 

Hat IT 

•' Cross 19 

Silk, Cloth and Velvet Toques 14 

Slipstitch 46 

Smocking 39 

Starching Feathers 57 

Stiffening Hats and Bonnets , 59 

vStitches used in Millinery 43 

Backstitch 44 

Blindstitch 45 

Buttonhole Stitch 46 

Feather or Flannel Stitch ••• 45 

Flat Carpet Stitch 46 

Hemstitch 45 

67 



Over-and-O ver ; 44 

Slipstitch 46 

Through and Through or In-and- Out 43 

Straw or other Braid, Sewing 21 

" '• " " Toques ... 13 

Through and Through or In-and-( )ut Stitch 43 

To Bleach Lace 62 

Straw 60 

' ' Leghorn 60 

Clean " 60 

' ' Butter and Ecru Lace 62 

" White Lace .. . 61 

" Straw 60 

Color Straw, Chip and Leghorn black 59 

Cover Bonnet Frame 12 

" Round Hat 10 

Freshen Black Straw 59 

Ribbon 58 

Velvet 59 

" White Straw or Leghorn 60 

Colored " " 59 

Make Bonnet 12 

Obtain Perfect Bias. 42 

Renovate Black Crepe 61 

Lace 61 

Ecru " 62 

White " 61 

Stiffen Hats and Bonnets 59 

Toques 13 

Toque Frame of Wire 9 

Veils 32 

• ' , Bridal 83 

" , Communion and Confirmation 83 

' ' , Draping Bridal 26 

" , " Mourning 31 

Velvet, To Clean without Ripping 59 

To Freshen 59 

Wheeling and Outing Hats 15 

Widow's Cap 36 

Wiring Ribbon 47 

Wire Frame on Shaper 9 



6S 



AT THn VIENNA 



Ladies' Tailoring 



• • 



. Institute. 



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darts, dartless fronts and bias under-arm gores and all other 
fine points as now practiced by all first-class French and 
American lady tailors; private lessoriS to dressmakers desiring 
to learn the fine points; this system cuts so accurately that 
a personal fitting is not necessary; free trial lesson in cut- 
ting. Special instructions to gentlemen and ladies in de- 
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JO Mast 14th Street, New York. 

69 



A. M. KEANE, 



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71 



THE 



ART OF DRESSMAKING, 

130 Page Handsomely Illustrated Cloth Bound Book. 



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This is the result of years of experience, written by a practical and well- 
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The book contains ;-i"2 chapters of thorough and practical information 
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In the hands of every ladies' tailor, dressmaker, seamstress, and every 
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Price of Book, $2.50, Sent postpaid on receipt of price. 

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New York, March 30th, 1895. 
Miss Sophie Klug: 

We wish to add our testimony to that of others as to your efficiency and thorough 
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reference in any matter that you choose. Respectfully, 

W. H. CLOSE, 

Vienna Ladies' Tailoring Institute, 

30-32 E. 14th St , N. Y. 



LIBRARY OF CONGRESS 




014 080 205 



